8,103 posts
|
Post by alece10 on Jul 7, 2018 17:35:12 GMT
EP last week was talking to Kelli O'Hara o the subject of the dress and they both said that they suffered with back problems wearing the dress. I think the weight of 40lbs was quoted
|
|
637 posts
|
Post by AddisonMizner on Jul 7, 2018 18:39:48 GMT
What a devine production this is! Probably one of the most gorgeous and glorious productions I have ever seen! After seeing the matinee performance today, I left on a cloud.
Whilst this is a long show, running at nearly three hours, for me it certainly didn’t feel like it, and there wasn’t a moment, minute or second that I would have changed. This is helped by stunning direction, where every single moment lands, whilst maintaining an internal drive, energy and vitality with almost filmic verve. Sher really is a master.
As for being dated, I would have to disagree. If anything, this is the perfect time to revive it, with themes of acceptance, female empowerment and independence and learning from one another. These themes are brought to the fore beautifully in this production.
I do not know what it is about Rodgers and Hammerstein shows, but I find them incredibly moving, especially THE KING AND I. I had tears pouring down my face at various points throughout the show, particularly the scene where Tuptim is nearly whipped and beaten, when Anna is reading the King’s letter, and the whole last scene.
The two central performances are devine, and the two leads have an incredible chemistry. Kelli O’Hara delivers one of, if not THE best vocal performance I have ever heard on the Musical Theatre stage. I was in bits through “Hello, Young Lovers”, and I struggled to see through tears. More than the voice though, she gave a lovely nuanced acting performance that was very moving. It was just a thrill to finally see her on the stage, and hope to see her again sometime in the future, although it may be too much to hope that this will be a London production of BRIDGES. Ken Watanabe also impressed, and he attacked his role of the King with an energy that was infectious and thrilling. He was very funny and sweet, which made the King easy to love, but could make him turn on a dime to something more ferocious.
The score sounded glorious with that full orchestra, and the design of the show was sumptuous. A proper Palladium musical!
Needless to say, I loved it! GO, GO, GO!
5 stars
|
|
1,346 posts
|
Post by tmesis on Jul 7, 2018 21:42:24 GMT
Just come out of tonight's performance. Well, I had extremely high expectations for this which weren't met on a number of levels, although on the whole I enjoyed it.
The good...
The children are fantastic; talented and just adorable.
The orchestra sounds marvellous and it is very well conducted.
The sound balance is superb.
All principals (apart from the King) sing and act really well. Kelli o' Hara was just superb in every way. I can't think of Anna being better performed today.
The not so good...
It's a very basic production. I expected something more sumptuous at The Palladium. It looked no better than the recent Kiss me Kate. Scene changes were quite clunky too.
The dialogue portions dragged a bit, it needs more pace.
The biggest let down is Ken Watanabe as the King. He seriously lacks charisma and there was no frisson in the scenes between him and Anna. His dialogue wasn't clear a lot of the time and I missed some of his lines.
So a bit disappointing, but it's worth seeing for Kelli's performance alone.
btw, on this extremely hot day The Palladium was fabulously cool!
|
|
904 posts
|
Post by lonlad on Jul 8, 2018 7:30:10 GMT
Hard to imagine mentioning this production and that embarrassing KISS ME, KATE in the same breathe but there we have it. Funnily enough, Kelli's next Broadway show will be - yes indeed - Kiss Me, Kate!
|
|
|
|
Post by Deleted on Jul 8, 2018 7:49:28 GMT
I saw this on Broadway and I'm surprised to see complaints about Ken. I could understand him perfectly and just assumed it was a typical case of Americans not being used to a different accent that requires a little more focus. In fact Kens performance is still one of the best performances I've seen in a musical. completely captivating and moving.
Kelli on the other hand, great voice but I find her a bit of a bland actress.
|
|
258 posts
|
Post by notmymuse on Jul 8, 2018 10:00:19 GMT
I caught this last night and really enjoyed it.
For me, I loved the performances of the two leads and the king's chief wife. I found the king really absorbing and convincing, and Anna was beautifully played and sung.
It's a bit of a museum piece in some ways and you have to view it as such, but having seen Fun Home just a few hours before, I was stuck by how easily this passes the Bechdel test, and is probably 60 years or so old now. There are interesting themes about the ridiculousness of both cultures, Anna is a strong and bold character (her scene with Tuptim towards the end I find genuinely moving and really believed her bravery), there was criticism of Western Imperialism and more.
I found the pace slower than I'd expected, and the spectacle less than I'd imagined, bit it was so engrossing I didn't mind and this didn't detract. I think young children will struggle though (at least the one behind me did...).
But so glad to have crossed this off the bucket list and it's hard to believe this could be done much better.
|
|
5,811 posts
|
Post by mrbarnaby on Jul 9, 2018 4:10:48 GMT
What a devine production this is! Probably one of the most gorgeous and glorious productions I have ever seen! After seeing the matinee performance today, I left on a cloud. Whilst this is a long show, running at nearly three hours, for me it certainly didn’t feel like it, and there wasn’t a moment, minute or second that I would have changed. This is helped by stunning direction, where every single moment lands, whilst maintaining an internal drive, energy and vitality with almost filmic verve. Sher really is a master. As for being dated, I would have to disagree. If anything, this is the perfect time to revive it, with themes of acceptance, female empowerment and independence and learning from one another. These themes are brought to the fore beautifully in this production. I do not know what it is about Rodgers and Hammerstein shows, but I find them incredibly moving, especially THE KING AND I. I had tears pouring down my face at various points throughout the show, particularly the scene where Tuptim is nearly whipped and beaten, when Anna is reading the King’s letter, and the whole last scene. The two central performances are devine, and the two leads have an incredible chemistry. Kelli O’Hara delivers one of, if not THE best vocal performance I have ever heard on the Musical Theatre stage. I was in bits through “Hello, Young Lovers”, and I struggled to see through tears. More than the voice though, she gave a lovely nuanced acting performance that was very moving. It was just a thrill to finally see her on the stage, and hope to see her again sometime in the future, although it may be too much to hope that this will be a London production of BRIDGES. Ken Watanabe also impressed, and he attacked his role of the King with an energy that was infectious and thrilling. He was very funny and sweet, which made the King easy to love, but could make him turn on a dime to something more ferocious. The score sounded glorious with that full orchestra, and the design of the show was sumptuous. A proper Palladium musical! Needless to say, I loved it! GO, GO, GO! 5 stars DIVINE |
|
|
|
Post by waybeyondblue on Jul 9, 2018 7:02:01 GMT
What a devine production this is! Probably one of the most gorgeous and glorious productions I have ever seen! After seeing the matinee performance today, I left on a cloud.................The score sounded glorious with that full orchestra, and the design of the show was sumptuous. A proper Palladium musical! Needless to say, I loved it! GO, GO, GO! 5 stars DIVINE Different musical B Hairspray. Easily done with the two being so similar to the less informed theatregoer. |
|
4,961 posts
|
Post by Someone in a tree on Jul 10, 2018 9:33:08 GMT
I got great seats on the usual app. Forgot just how intimate this theatre can feel.
I love Kelli O’Hara. She is worth the ticket price alone. Broadway royalty.
Does Ken Watanabe normally speak in that thick accent? Some of it was inaudible and the rest sounded like something from Carry on up the Khyber. Although perhaps quite appropriate for 1950’s orientalism.
The ship looked most unseaworthy, surely a suggestion of a boat would of looked better ? Nice design after that though and really well directed.
The dancing in the ballet was not strong enough and to me it just looked messy.
Glad I’ve seen it and loved seeing Dame O’Hara
|
|
19,670 posts
|
Post by BurlyBeaR on Jul 10, 2018 14:16:47 GMT
There’s that very tricky move in the dancing where they stand on one leg with the other leg bent and the toes of the raised foot curled up, and hands with second fingers and thumbs touching.
A bit wobbly on the night I went! Still, I couldn’t hold that pose for one second, never mind five.
|
|
345 posts
|
Post by Sam on Jul 12, 2018 9:31:47 GMT
Got my tickets for tonight!
|
|
4,155 posts
|
Post by kathryn on Jul 12, 2018 12:20:15 GMT
Thinking about Rush ticketing this via the app. It seems to want to throw up row A a lot - what's the height advisory for the Palladium stage? I'm just a smidge over 5 foot - too short?
|
|
3,333 posts
|
Post by Dr Tom on Jul 12, 2018 13:32:07 GMT
Thinking about Rush ticketing this via the app. It seems to want to throw up row A a lot - what's the height advisory for the Palladium stage? I'm just a smidge over 5 foot - too short? Medium height, I would say. I sat there and am 5'8" and you can't see everything. You're not right next to the stage though, as there's a decent size gap for the orchestra. |
|
1,133 posts
|
Post by Stephen on Jul 12, 2018 14:45:41 GMT
I'm 5ft 7 and never have a problem at panto. Think at 5ft you could have a bit, but you can get a booster cushion (usually a pile in the dress circle if they don't have any in the stalls).
Oh, and while on the subject, a reader has just told me it took nearly 30 minutes to get into the Palladium from the street last matinee. So perhaps allow a little extra time. Especially for anyone coming tomorrow...the Trump protests around Oxford Street will make getting to the theatre difficult. I'd leave with PLENTY of time! |
|
4,155 posts
|
Post by kathryn on Jul 12, 2018 14:57:28 GMT
Oh yes, I'd forgotten about protest disruption. Maybe I'll try some other weekend....
|
|
|
|
Post by Mr Snow on Jul 14, 2018 7:22:39 GMT
I have nothing original to add, but I have to say it anyway.
Kelly O'Hara is a God come down to amuse us for a short time. Her performance is a wonder and she's perfect for the part. You're making a big mistake if you pass this sighting up.
My only gripe is that whenever she's on stage, it's clear she's surrounded by mere mortals. Oh well no one's perfect.
|
|
4,984 posts
|
Post by Phantom of London on Jul 14, 2018 12:22:02 GMT
Who needs to justify The King and I as one of the greatest musicals of all time? Especially when it’s a Tony award import from the Lincoln Centre.
I have heard it that voices are not as melodious from the southern side of the USA, where Kelli O’Hara hails from the city and state of Oklahoma the same place as Kristin Chenoweth who is also a very fine singer, this is indeed a very poor statement as Kelli O’Hara has a very melodious voice and is one of the greatest Sopranos in the world, when Kelli O’Hara sung Getting to Know You, Hello Young Lovers and Shall We Dance in the great London Palladium she was as radiant and majestic as a peacock in full display. No wonder she deservedly bagged the Tony and rightfully should add an Olivier to her achievements.
Ken Watanabe certainly played his role well and could hold a note. But a special shout out to Ruthie Ann Miles who showed the greatest courage to unexpectedly reprised her role after a dreadful year.
If the trade off is to get shows such as this the London Palladium For a seasonal pantomime, then it is almost worth it! Role on Hell Dolly.
5 Stars.
|
|
2,850 posts
|
Post by couldileaveyou on Jul 14, 2018 12:34:55 GMT
Did Ruthie really show up or it was her unadvertised "alternate"?
|
|
904 posts
|
Post by lonlad on Jul 14, 2018 13:08:50 GMT
Ruthie hasn't been anywhere near this production since it got to London. One hopes she will in time.
|
|
1,936 posts
|
Post by wickedgrin on Jul 14, 2018 13:19:29 GMT
Cant wait for Hell....Dolly? |
|
|
|
Post by Deleted on Jul 14, 2018 14:23:09 GMT
Why did Phantom say Ruthie performed?
|
|
4,984 posts
|
Post by Phantom of London on Jul 14, 2018 16:53:00 GMT
That what it said in the programme, didn’t see a name change, so took it on face value.
|
|
2,452 posts
|
Post by theatremadness on Jul 14, 2018 17:22:48 GMT
That what it said in the programme, didn’t see a name change, so took it on face value. Aren't Ruthie Ann Miles and Naoko Mori listed next to each other in the programme, both as Lady Thiang? It's been reported, and discussed at length on this thread, that Ruthie currently isn't in the show, but seems to have an open invitation to return should she ever feel ready and therefore Lady Thiang is being played by Naoko Mori unil that time comes. |
|
|
|
Post by Deleted on Jul 14, 2018 18:15:15 GMT
If you've got the programme, surely you've got the headshots and can therefore see which of the two differently-featured women you've been watching on the stage for nearly three hours.....
|
|
581 posts
|
Post by princeton on Jul 14, 2018 18:50:57 GMT
You’d think so - though several first night critics including those from The Times and The Stage, who were presumably sitting in the best seats in the house and could clearly see the faces on stage, praised Ruthie Ann Miles In their reviewsl. I suppose you could put it down to sloppy journalism - on the other hand......
|
|
